It is the war between the tragic, unexpected and fascinating moments in the 56-year history of the Neuen Nationalgalerie: Am Freitagabend nutzte die Fotografin Nan Goldin die Eröffnungsrede ihrer Ausstellung in Berlin zu a einer Attacke en Israel and Deutschland, understützt von Les pro-Palestinian activists are dying in their current data regarding Hallen like Goldins’ Kommando. Fuck Israel,” Palestinian flags are flown and Intifada speeches are delivered. Images, as we do not see them, and excellent social media are broadcast all over the world.

While Klaus Biesenbach, the director, in the direction of Nan Goldins, rede zu distancezzieren versuchte et dabei von den Aktivisten niedergebrüllt wurde, Darf nicht davon ablenken, Dass Biesenbach selbst die Verantwortung für diesen tiefpunkt deutscher Kulturpolitik tragt. Niemand anderes als himself hat Nan Goldin die Bühne bereitet.

Lange war abzusehen, the Fotografin – for the Kunst and politischer Aktivismus inzwischen untrennbar zusammengehören – ihre Berliner Schau and die damit verbundene öffentliche Aufmerksamkeit als Lautsprecher for ihre Boykottforderungen gegen Israel and ihre arbundene öffentliche Aufmerksamkeit as Lautsprecher for ihre Boykottforderungen gegen Israel and ihre unterstützung der “Strike” Germany”-Bewegung nutzen würde.

Klaus Biesenbach, in his own misery about naivety and arrogance, realized that he was inside the Freundin Goldin – he was in the 90s like the group of the “Wahlfamilie” bezeichnet – im Griff haben werde. If you have a closer visit, if in Berlin you will be able to do so, you will not be able to control them. Goldin engages in his own war, for he is in woman before the illusion of illusion, and it is true that his hours are spent in Berlin, and it is equal for him to wage war on others, in his country. seien.

Biesenbach thinks it is time to die, the title of the ausstellung “This will not end well” for his own prophet, and therefore the prophylaxis of the ausstellung at a distance, in his own mind and in his own adjutant Lisa Botti klammheimlich as Ko- Kurateurs derselben entließ. Therefore, in Biesenbach zu hoffen, mit dem Kopf im Sand, würde sich der aufziehende Sturm besser überstehen lassen.

Scandal with Ansage

Wäre Klaus Biesenbach seinem Amt auch nur annähernd gewachsen, es hätte den Skandal von Freitagabend nie gegeben. Nicht allein, weil nur ein Grundmaß an politischem Gespür ihm hätte reichen können, das Angebot auszuschlagen, Berlin heads towards the Documenta-Debakel zur Station einer Goldin-Ausstellungstournee zu machen. But there’s also a satisfying midway development plan – with political leanings – that are aimed directly at a development, Andy Warhol’s queerness and his fascination with Drag Queens, but not a Nan Goldin retrospective, in the soundtrack of Velvet Underground, a photographic dia-show from the era of Drag Queens and transsexuals. The man must not be able to define identity politics and strategic reading, because the Nationalgalerie researcher does not have two exhibitions and has failed to create a monate with the queer New Yorker Downtown-Bohemian ausinanderzusetzen . This is one of the arguments of the Directors’ Horizon and an executive director and a practical direction, an institution which aims to do this.

Biesenbach and the Neue Nationalgalerie: it is the war of Anfang and a Missverständnis. The Kurator, Berlin’s art studio for 90 years, was appointed Kurator of the Museum of Modern Art in New York (MoMA) in 2004 and director of the Angeschlossenen Kunsthalle PS1 in 2010.

There are historical artists in New York who went to graduate school, or who didn’t have their year, like the man with sample work, who was brought to MoMA by a newcomer , which also spawned Biesenbach who created movie and pop stars. Kim Cattrall with Lady Gaga has now launched Park-Avenue-Milliardärinnen for cultural activities and for fundraising campaigns and parties.

Monika Grütters with ihm Exile

While at MoMA’s time, the sinking began – one of their checks and studies and in-depth studies on popstar Björk and their costume evolved into the current trend – in 2018, at the Museum of Contemporary Art in Los Angeles, I did it. Monika Grütters, a young woman from Australia, is currently in Australia, in the new national gallery of exile of the German Kurateur Exile, director of the direction of degraded arts for two years – and who is offended by the Anruf of Ministry of Culture damaging.

Das Glück hat Biesenbach in Berlin nicht gefunden, so erzählen es seine wenigen Vertrauten in der Hauptstadt. And who is also, in a job, so dessen Anforderungsprofil that it has nothing to do with his hat? As the director of a 20-year-old museum, aren’t men interested? While he himself wrote “Citizens of the World”, for German art, was this the first time that Katharina Sieverding started?

The man must be aware of the situation: the Mann, the work of the Neuer Galerie of Ronald Lauders in New York every minute of the depression, he has become the depression of Kirchner and Kokoschka and he must expect the celebration of (the most beautiful things in the world). ) Terence Koh, This is a guarantee for one of the wichtigsten Sammlungen des Malerei der Klassischen Moderne and Neuen Sachlichkeit – without having time to relax for the Medium or the largest zeitgeschichtliche Zusammenhänge zu haben.

Dass Klaus Biesenbach, der mit Berlin hadert et dem es offensichtliche schwerfällt, pertinent eigene kuratorische Ideas zu formularen (selbst Lieblingsthemen wie Warhol und Goldin sind Übernahmen anderer Museen) in the Nationalgalerie stattdessen zur Event-Location et zum Ort Instagram-tauglicher The parties and the shows are perfect for creating events.

Biesenbach is a professional of the new Sprechordnungen within, and the within the museum also has a “Code of Conduct” – Aufsteller zum “Safe space for minorities”. What is not due to the intervention of Nan Goldin and the political takeovers of the Neue Nationalgalerie in a “dangerous space” for our Jewish government, is not zu überbieten perfidy. Die Verantwortung dafür kann Biesenbach nicht delegieren, die tragt er allein. This is how a competent director of the Nationalgalerie-Director is an intriguer.

Sollte Biesenbach did not come himself, but Rolle could not do so, but Marion Ackermann did so in 2025, as did the Stiftung Preußischer Kulturbesitz, so that she could benefit from a little pleasure.